When I first started this site a year ago, I was on a mission to interview every music tech company in the world. Some of them had cool ideas with no business model, and some had a business model without a cool idea. The ones that remain a year later combined both and Thrillcall is among the few, the proud, and the brave. Last week, I had a chance to catch up with Co-Founder Matthew Tomaszewicz and below are the results:
It’s been a year since we talk and you guys have been making tremendous strides. How many more users has Thrillcall required to since partnering up with Myspace?
We do not disclose number of users
For a while no-one ever thought Myspace would re-launch. Do you ever see them getting back to where they were at during before the Facebook explosion?
I think consumers desperately want a web-based music directory and there hasn’t been a service that has come close since the original Myspace. Myspace really had two distinct and difference services, in my opinion, going before Facebook’s introduction. The first was asynchronous wall posts that were to a broad group and the second was easily-created, music available artist pages. It’s a given that the latter at scale is well within a re-launched Myspace’s grasp.
I was surfing the internet and I saw that Thrillcall was being used by a smaller music blog as well. Is this part of your plan as well. Partnering up with smaller music site?
Thanks for noticing! Yes, we offer our services everywhere and anywhere. To the extent that someone or some web site wants the most accurate tour and event listings and tickets available we provide a service.
Has the daily deal model finally caught on in the ticketing industry?
Well, I think the expression “daily deal” is, rightly, experiencing fatigue. Businesses can’t live on “deal distribution” alone. Deals should really be used thoughtfully and more as a means of introducing new customers to your product.
In the music space, it’s different. The marketing is usually so hyper-focused around an onsale event based upon the archaic notion of buying tickets through a terminal at your local record shop that marketing a show after it goes on sale is always a challenge. That’s where we come in. We help the primary ticket and their client re-introduce the show to the audience in that locale through adding an extra or offering an exclusive ticket.
How successful was the launch of your Android app?
You know, it was a product that was demanded for some time and will be in more demand as Android gains market share and as Thrillcall launches its service beyond the coasts. We just launched Chicago by the way.
The launch was successful, but it’s really about alerting all customers to what makes Thrillcall unique, less about the specific form factor or technology that those services are delivered through.
What is one piece of advice you give to a music tech start-up?
Well, I don’t think I’m the best person to be offering advice as our company has yet to go public or have an equity event for our investors or employees.
That said, I think the music space is different from most and you can even go all the way back to Napster–a company and product that ultimately had a short lifespan and saw a legitimized and pay-for Apple Itunes rocket past it in terms of usage–to see the difference.
Being in the music and ticketing space is about being complementary to the different b-to-b constituents out there, not disruptive. I think that’s a notion that is often lost, especially within the environment that is Silicon Valley.
There are so many rights holders and constituents–and most have a legitimate place in the space–that to think you, Music Tech Start-up X, can come in and disrupt that is a rather naive line of thinking.
I would suggest if you are considering creating a music tech start-up, take a deep dive look at those players in the space that will impact your success on the client side. Make sure you’re solving their challenge as well as the consumers.Google+